FAQs

Do you mix stuff that you don’t record?

Yes, often. You can link to examples of my mix work on the MUSIC page. If you’re interested in mixing, please email and include a link to your previous work or rough mixes of the current music if you have those available. Rates depend on the scope of the project.

Aren’t studios supposed to be windowless rooms where everyone is isolated from one another?

I don’t love working in windowless rooms. When I built the studio I opted for specialized acoustical reinforcement of the windows rather than eliminating them. There are no isolation booths at Tree & Booms - musicians either play live in the room together or record overdub style. And I like to be in the same space as the artist(s) because I find it fuels the flow of communication and collaborative spirit of the project in a helpful way. If you’re interested in learning more about my approach to the creative process or thoughts on some of the more technical sides of recording, I talked about both as a guest on the ProducerHead podcast.

Is Tree & Booms good for every recording project?

No. After working together awhile before moving on to another studio, a band once told me that they wanted a place where it was “ok to spill beer on the floor.” That is not this studio. If you’re looking for isolation of all the musicians from one another while recording a live band, this is not the best studio for you either. There is no game room but there are walking trails outside. I’m committed to hi-fi sound with a strong foothold in the organic warmth of old school records, so if that aesthetic doesn’t resonate for you we might not be the best fit either.

Are studio guys always pushy and opinionated?

Maybe. In my experience an engineer or producer with a pushy attitude is not especially helpful to capturing an inspired musical moment. I try to listen first in order to follow your lead, offering input as it is helpful rather than telling you how you things should be done. Different aspects of the recording process demand a lot of patience for everyone involved and I see that as part of the work we’re doing together.

Why do you use hardware recording equipment so much when a laptop and plugins can do it all now? Plus if most people are streaming music on their phone speakers, why does sound quality matter anyway?

I find that high quality recording hardware has a tone, resonance, and musicality in the same way that an acoustic guitar, drum kit, or grand piano might. I love tube compressors and preamps as well as certain op-amps and transformers that impart a signature tone or color into the recorded sound. And I find that hardware tends to do this with a sonic impact and immediacy that plugins often struggle to replicate. As ridiculous as the words to describe sound can be (warm, fuzzy, creamy, gooey), the sound itself is real and a central part of the intent that is expressed in a recording. In recording and mixing I strive to make things sound vibrant, vivid, and inviting. I guess I hold to the road of hope here despite the prevailing phone and laptop speakers of our times.

Do you teach?

I offer consulting and private instruction for musicians in person or online. The focus of these sessions might center on creative routines and practices, getting feedback on works in progress, or specific songwriting input (lyrics, melody, rhythm, form, sound, arrangement questions, etc). I also offer private lessons in sound engineering, mixing, and the studio as a vehicle for songwriting. Teaching is schedule dependent.

What else do you do musically or creatively?

In addition to producing, mixing, and co-writing with various artists in the studio, I have performed professionally as a drummer and percussionist for over 20 years. As a musician I primarily consider myself a drummer, sound designer, and composer/songwriter. I released a solo album called Exist Everywhere in 2025 and an earlier album of musical sketches called Boom & Bloom on WarHen Records in 2020. I also write words, not in a professional capacity but as a central part of my creative practice. Some of that writing has made its way to my newsletter here on Substack. Beyond the studio, I enjoy vinyl records, fiction, gardening, poetry, bikes, the ocean, meaningful conversation, listening, time outdoors, Brazilian music, and Japanese tea.